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This passage discusses the work of Abe Kobo, a Japanese novelist of the twentieth century. Abe Kobo is one of the great writers of postwar Japan. His literature is richer, less predictable, and wider-ranging than that of his famed contemporaries, Mishima Yukio and Nobel laureate Oe Kenzaburo. It is infused with the passion and strangeness of his experiences in Manchuria, which was a Japanese colony on mainland China before World War II. Abe spent his childhood and much of his youth in Manchuria, and, as a result, the orbit of his work would be far less controlled by the oppressive gravitational pull of the themes of furusato (hometown) and the emperor than his contemporaries'. Abe, like most of the sons of Japanese families living in Manchuria, did return to Japan for schooling. He entered medical school in Tokyo in 1944 `" just in time to forge himself a medical certificate claiming ill health; this allowed him to avoid fighting in the war that Japan was already losing and return to Manchuria.
When Japan lost the war, however, it also lost its Manchurian colony. The Japanese living there were attacked by the Soviet Army and various guerrilla bands. They suddenly found themselves refugees, desperate for food. Many unfit men were abandoned in the Manchurian desert. At this apocalyptic time, Abe lost his father to cholera. He returned to mainland Japan once more, where the young were turning to Marxism as a rejection of the militarism of the war. After a brief, unsuccessful stint at medical school, he became part of a Marxist group of avant-garde artists. His work at this time was passionate and outspoken on political matters, adopting black humor as its mode of critique.
During this time, Abe worked in the genres of theater, music, and photography. Eventually, he mimeographed fifty copies of his first `published` literary work, entitled Anonymous Poems, in 1947. It was a politically charged set of poems dedicated to the memory of his father and friends who had died in Manchuria. Shortly thereafter, he published his first novel, For a Signpost at the End of a Road, which imagined another life for his best friend who had died in the Manchurian desert. Abe was also active in the Communist Party, organizing literary groups for workingmen. Unfortunately, most of this radical early work is unknown outside Japan and underappreciated even in Japan. In early 1962, Abe was dismissed from the Japanese Liberalist Party. Four months later, he published the work that would blind us to his earlier oeuvre, Woman in the Dunes. It was director Teshigahara Hiroshi's film adaptation of Woman in the Dunes that brought Abe's work to the international stage. The movie's fame has wrongly led readers to view the novel as Abe's masterpiece. It would be more accurate to say that the novel simply marked a turning point in his career, when Abe turned away from the experimental and heavily political work of his earlier career. Fortunately, he did not then turn to furusato and the emperor after all, but rather began a somewhat more realistic exploration of his continuing obsession with homelessness and alienation. Not completely a stranger to his earlier commitment to Marxism, Abe turned his attention, beginning in the sixties, to the effects on the individual of Japan's rapidly urbanizing, growthdriven, increasingly corporate society. The author uses the word `apocalyptic` to emphasize that:

This passage discusses the work of Abe Kobo, a Japanese novelist of the twentieth century. Abe Kobo is one of the great writers of postwar Japan. His literature is richer, less predictable, and wider-ranging than that of his famed contemporaries, Mishima Yukio and Nobel laureate Oe Kenzaburo. It is infused with the passion and strangeness of his experiences in Manchuria, which was a Japanese colony on mainland China before World War II. Abe spent his childhood and much of his youth in Manchuria, and, as a result, the orbit of his work would be far less controlled by the oppressive gravitational pull of the themes of furusato (hometown) and the emperor than his contemporaries'. Abe, like most of the sons of Japanese families living in Manchuria, did return to Japan for schooling. He entered medical school in Tokyo in 1944 `" just in time to forge himself a medical certificate claiming ill health; this allowed him to avoid fighting in the war that Japan was already losing and return to Manchuria.
When Japan lost the war, however, it also lost its Manchurian colony. The Japanese living there were attacked by the Soviet Army and various guerrilla bands. They suddenly found themselves refugees, desperate for food. Many unfit men were abandoned in the Manchurian desert. At this apocalyptic time, Abe lost his father to cholera. He returned to mainland Japan once more, where the young were turning to Marxism as a rejection of the militarism of the war. After a brief, unsuccessful stint at medical school, he became part of a Marxist group of avant-garde artists. His work at this time was passionate and outspoken on political matters, adopting black humor as its mode of critique. During this time, Abe worked in the genres of theater, music, and photography. Eventually, he mimeographed fifty copies of his first `published` literary work, entitled Anonymous Poems, in 1947. It was a politically charged set of poems dedicated to the memory of his father and friends who had died in Manchuria. Shortly thereafter, he published his first novel, For a Signpost at the End of a Road, which imagined another life for his best friend who had died in the Manchurian desert. Abe was also active in the Communist Party, organizing literary groups for workingmen. Unfortunately, most of this radical early work is unknown outside Japan and underappreciated even in Japan. In early 1962, Abe was dismissed from the Japanese Liberalist Party. Four months later, he published the work that would blind us to his earlier oeuvre, Woman in the Dunes. It was director Teshigahara Hiroshi's film adaptation of Woman in the Dunes that brought Abe's work to the international stage. The movie's fame has wrongly led readers to view the novel as Abe's masterpiece. It would be more accurate to say that the novel simply marked a turning point in his career, when Abe turned away from the experimental and heavily political work of his earlier career. Fortunately, he did not then turn to furusato and the emperor after all, but rather began a somewhat more realistic exploration of his continuing obsession with homelessness and alienation. Not completely a stranger to his earlier commitment to Marxism, Abe turned his attention, beginning in the sixties, to the effects on the individual of Japan's rapidly urbanizing, growthdriven, increasingly corporate society. The word `avant-garde` in this passage could best be replaced by:

This passage discusses the work of Abe Kobo, a Japanese novelist of the twentieth century. Abe Kobo is one of the great writers of postwar Japan. His literature is richer, less predictable, and wider-ranging than that of his famed contemporaries, Mishima Yukio and Nobel laureate Oe Kenzaburo. It is infused with the passion and strangeness of his experiences in Manchuria, which was a Japanese colony on mainland China before World War II. Abe spent his childhood and much of his youth in Manchuria, and, as a result, the orbit of his work would be far less controlled by the oppressive gravitational pull of the themes of furusato (hometown) and the emperor than his contemporaries'. Abe, like most of the sons of Japanese families living in Manchuria, did return to Japan for schooling. He entered medical school in Tokyo in 1944 `" just in time to forge himself a medical certificate claiming ill health; this allowed him to avoid fighting in the war that Japan was already losing and return to Manchuria.
When Japan lost the war, however, it also lost its Manchurian colony. The Japanese living there were attacked by the Soviet Army and various guerrilla bands. They suddenly found themselves refugees, desperate for food. Many unfit men were abandoned in the Manchurian desert. At this apocalyptic time, Abe lost his father to cholera. He returned to mainland Japan once more, where the young were turning to Marxism as a rejection of the militarism of the war. After a brief, unsuccessful stint at medical school, he became part of a Marxist group of avant-garde artists. His work at this time was passionate and outspoken on political matters, adopting black humor as its mode of critique. During this time, Abe worked in the genres of theater, music, and photography. Eventually, he mimeographed fifty copies of his first `published` literary work, entitled Anonymous Poems, in 1947. It was a politically charged set of poems dedicated to the memory of his father and friends who had died in Manchuria. Shortly thereafter, he published his first novel, For a Signpost at the End of a Road, which imagined another life for his best friend who had died in the Manchurian desert. Abe was also active in the Communist Party, organizing literary groups for workingmen. Unfortunately, most of this radical early work is unknown outside Japan and underappreciated even in Japan. In early 1962, Abe was dismissed from the Japanese Liberalist Party. Four months later, he published the work that would blind us to his earlier oeuvre, Woman in the Dunes. It was director Teshigahara Hiroshi's film adaptation of Woman in the Dunes that brought Abe's work to the international stage. The movie's fame has wrongly led readers to view the novel as Abe's masterpiece. It would be more accurate to say that the novel simply marked a turning point in his career, when Abe turned away from the experimental and heavily political work of his earlier career. Fortunately, he did not then turn to furusato and the emperor after all, but rather began a somewhat more realistic exploration of his continuing obsession with homelessness and alienation. Not completely a stranger to his earlier commitment to Marxism, Abe turned his attention, beginning in the sixties, to the effects on the individual of Japan's rapidly urbanizing, growthdriven, increasingly corporate society.
Which of the following does the passage present as a fact?

This passage discusses the work of Abe Kobo, a Japanese novelist of the twentieth century. Abe Kobo is one of the great writers of postwar Japan. His literature is richer, less predictable, and wider-ranging than that of his famed contemporaries, Mishima Yukio and Nobel laureate Oe Kenzaburo. It is infused with the passion and strangeness of his experiences in Manchuria, which was a Japanese colony on mainland China before World War II. Abe spent his childhood and much of his youth in Manchuria, and, as a result, the orbit of his work would be far less controlled by the oppressive gravitational pull of the themes of furusato (hometown) and the emperor than his contemporaries'. Abe, like most of the sons of Japanese families living in Manchuria, did return to Japan for schooling. He entered medical school in Tokyo in 1944 `" just in time to forge himself a medical certificate claiming ill health; this allowed him to avoid fighting in the war that Japan was already losing and return to Manchuria.
When Japan lost the war, however, it also lost its Manchurian colony. The Japanese living there were attacked by the Soviet Army and various guerrilla bands. They suddenly found themselves refugees, desperate for food. Many unfit men were abandoned in the Manchurian desert. At this apocalyptic time, Abe lost his father to cholera. He returned to mainland Japan once more, where the young were turning to Marxism as a rejection of the militarism of the war. After a brief, unsuccessful stint at medical school, he became part of a Marxist group of avant-garde artists. His work at this time was passionate and outspoken on political matters, adopting black humor as its mode of critique. During this time, Abe worked in the genres of theater, music, and photography. Eventually, he mimeographed fifty copies of his first `published` literary work, entitled Anonymous Poems, in 1947. It was a politically charged set of poems dedicated to the memory of his father and friends who had died in Manchuria. Shortly thereafter, he published his first novel, For a Signpost at the End of a Road, which imagined another life for his best friend who had died in the Manchurian desert. Abe was also active in the Communist Party, organizing literary groups for workingmen. Unfortunately, most of this radical early work is unknown outside Japan and underappreciated even in Japan. In early 1962, Abe was dismissed from the Japanese Liberalist Party. Four months later, he published the work that would blind us to his earlier oeuvre, Woman in the Dunes. It was director Teshigahara Hiroshi's film adaptation of Woman in the Dunes that brought Abe's work to the international stage. The movie's fame has wrongly led readers to view the novel as Abe's masterpiece. It would be more accurate to say that the novel simply marked a turning point in his career, when Abe turned away from the experimental and heavily political work of his earlier career. Fortunately, he did not then turn to furusato and the emperor after all, but rather began a somewhat more realistic exploration of his continuing obsession with homelessness and alienation. Not completely a stranger to his earlier commitment to Marxism, Abe turned his attention, beginning in the sixties, to the effects on the individual of Japan's rapidly urbanizing, growthdriven, increasingly corporate society. The phrase `blind us` in the last paragraph refers to the:

This passage discusses the work of Abe Kobo, a Japanese novelist of the twentieth century. Abe Kobo is one of the great writers of postwar Japan. His literature is richer, less predictable, and wider-ranging than that of his famed contemporaries, Mishima Yukio and Nobel laureate Oe Kenzaburo. It is infused with the passion and strangeness of his experiences in Manchuria, which was a Japanese colony on mainland China before World War II. Abe spent his childhood and much of his youth in Manchuria, and, as a result, the orbit of his work would be far less controlled by the oppressive gravitational pull of the themes of furusato (hometown) and the emperor than his contemporaries'. Abe, like most of the sons of Japanese families living in Manchuria, did return to Japan for schooling. He entered medical school in Tokyo in 1944 `" just in time to forge himself a medical certificate claiming ill health; this allowed him to avoid fighting in the war that Japan was already losing and return to Manchuria.
When Japan lost the war, however, it also lost its Manchurian colony. The Japanese living there were attacked by the Soviet Army and various guerrilla bands. They suddenly found themselves refugees, desperate for food. Many unfit men were abandoned in the Manchurian desert. At this apocalyptic time, Abe lost his father to cholera. He returned to mainland Japan once more, where the young were turning to Marxism as a rejection of the militarism of the war. After a brief, unsuccessful stint at medical school, he became part of a Marxist group of avant-garde artists. His work at this time was passionate and outspoken on political matters, adopting black humor as its mode of critique. During this time, Abe worked in the genres of theater, music, and photography. Eventually, he mimeographed fifty copies of his first `published` literary work, entitled Anonymous Poems, in 1947. It was a politically charged set of poems dedicated to the memory of his father and friends who had died in Manchuria. Shortly thereafter, he published his first novel, For a Signpost at the End of a Road, which imagined another life for his best friend who had died in the Manchurian desert. Abe was also active in the Communist Party, organizing literary groups for workingmen. Unfortunately, most of this radical early work is unknown outside Japan and underappreciated even in Japan. In early 1962, Abe was dismissed from the Japanese Liberalist Party. Four months later, he published the work that would blind us to his earlier oeuvre, Woman in the Dunes. It was director Teshigahara Hiroshi's film adaptation of Woman in the Dunes that brought Abe's work to the international stage. The movie's fame has wrongly led readers to view the novel as Abe's masterpiece. It would be more accurate to say that the novel simply marked a turning point in his career, when Abe turned away from the experimental and heavily political work of his earlier career. Fortunately, he did not then turn to furusato and the emperor after all, but rather began a somewhat more realistic exploration of his continuing obsession with homelessness and alienation. Not completely a stranger to his earlier commitment to Marxism, Abe turned his attention, beginning in the sixties, to the effects on the individual of Japan's rapidly urbanizing, growthdriven, increasingly corporate society. The author's main purpose in the passage is to:

This passage discusses the work of Abe Kobo, a Japanese novelist of the twentieth century. Abe Kobo is one of the great writers of postwar Japan. His literature is richer, less predictable, and wider-ranging than that of his famed contemporaries, Mishima Yukio and Nobel laureate Oe Kenzaburo. It is infused with the passion and strangeness of his experiences in Manchuria, which was a Japanese colony on mainland China before World War II. Abe spent his childhood and much of his youth in Manchuria, and, as a result, the orbit of his work would be far less controlled by the oppressive gravitational pull of the themes of furusato (hometown) and the emperor than his contemporaries'. Abe, like most of the sons of Japanese families living in Manchuria, did return to Japan for schooling. He entered medical school in Tokyo in 1944 `" just in time to forge himself a medical certificate claiming ill health; this allowed him to avoid fighting in the war that Japan was already losing and return to Manchuria.
When Japan lost the war, however, it also lost its Manchurian colony. The Japanese living there were attacked by the Soviet Army and various guerrilla bands. They suddenly found themselves refugees, desperate for food. Many unfit men were abandoned in the Manchurian desert. At this apocalyptic time, Abe lost his father to cholera. He returned to mainland Japan once more, where the young were turning to Marxism as a rejection of the militarism of the war. After a brief, unsuccessful stint at medical school, he became part of a Marxist group of avant-garde artists. His work at this time was passionate and outspoken on political matters, adopting black humor as its mode of critique. During this time, Abe worked in the genres of theater, music, and photography. Eventually, he mimeographed fifty copies of his first `published` literary work, entitled Anonymous Poems, in 1947. It was a politically charged set of poems dedicated to the memory of his father and friends who had died in Manchuria. Shortly thereafter, he published his first novel, For a Signpost at the End of a Road, which imagined another life for his best friend who had died in the Manchurian desert. Abe was also active in the Communist Party, organizing literary groups for workingmen. Unfortunately, most of this radical early work is unknown outside Japan and underappreciated even in Japan. In early 1962, Abe was dismissed from the Japanese Liberalist Party. Four months later, he published the work that would blind us to his earlier oeuvre, Woman in the Dunes. It was director Teshigahara Hiroshi's film adaptation of Woman in the Dunes that brought Abe's work to the international stage. The movie's fame has wrongly led readers to view the novel as Abe's masterpiece. It would be more accurate to say that the novel simply marked a turning point in his career, when Abe turned away from the experimental and heavily political work of his earlier career. Fortunately, he did not then turn to furusato and the emperor after all, but rather began a somewhat more realistic exploration of his continuing obsession with homelessness and alienation. Not completely a stranger to his earlier commitment to Marxism, Abe turned his attention, beginning in the sixties, to the effects on the individual of Japan's rapidly urbanizing, growthdriven, increasingly corporate society. The author of the passage is most likely a:

This passage discusses the work of Abe Kobo, a Japanese novelist of the twentieth century. Abe Kobo is one of the great writers of postwar Japan. His literature is richer, less predictable, and wider-ranging than that of his famed contemporaries, Mishima Yukio and Nobel laureate Oe Kenzaburo. It is infused with the passion and strangeness of his experiences in Manchuria, which was a Japanese colony on mainland China before World War II. Abe spent his childhood and much of his youth in Manchuria, and, as a result, the orbit of his work would be far less controlled by the oppressive gravitational pull of the themes of furusato (hometown) and the emperor than his contemporaries'. Abe, like most of the sons of Japanese families living in Manchuria, did return to Japan for schooling. He entered medical school in Tokyo in 1944 `" just in time to forge himself a medical certificate claiming ill health; this allowed him to avoid fighting in the war that Japan was already losing and return to Manchuria.
When Japan lost the war, however, it also lost its Manchurian colony. The Japanese living there were attacked by the Soviet Army and various guerrilla bands. They suddenly found themselves refugees, desperate for food. Many unfit men were abandoned in the Manchurian desert. At this apocalyptic time, Abe lost his father to cholera. He returned to mainland Japan once more, where the young were turning to Marxism as a rejection of the militarism of the war. After a brief, unsuccessful stint at medical school, he became part of a Marxist group of avant-garde artists. His work at this time was passionate and outspoken on political matters, adopting black humor as its mode of critique. During this time, Abe worked in the genres of theater, music, and photography. Eventually, he mimeographed fifty copies of his first `published` literary work, entitled Anonymous Poems, in 1947. It was a politically charged set of poems dedicated to the memory of his father and friends who had died in Manchuria. Shortly thereafter, he published his first novel, For a Signpost at the End of a Road, which imagined another life for his best friend who had died in the Manchurian desert. Abe was also active in the Communist Party, organizing literary groups for workingmen. Unfortunately, most of this radical early work is unknown outside Japan and underappreciated even in Japan. In early 1962, Abe was dismissed from the Japanese Liberalist Party. Four months later, he published the work that would blind us to his earlier oeuvre, Woman in the Dunes. It was director Teshigahara Hiroshi's film adaptation of Woman in the Dunes that brought Abe's work to the international stage. The movie's fame has wrongly led readers to view the novel as Abe's masterpiece. It would be more accurate to say that the novel simply marked a turning point in his career, when Abe turned away from the experimental and heavily political work of his earlier career. Fortunately, he did not then turn to furusato and the emperor after all, but rather began a somewhat more realistic exploration of his continuing obsession with homelessness and alienation. Not completely a stranger to his earlier commitment to Marxism, Abe turned his attention, beginning in the sixties, to the effects on the individual of Japan's rapidly urbanizing, growthdriven, increasingly corporate society. The author's attitude toward Marxism can best be described as:

The following passage was written by John Janovec, an ecologist who has worked in the Los Amigos watershed in Peru. The Amazonian wilderness harbors the greatest number of species on this planet and is an irreplaceable resource for present and future generations. Amazonia is crucial for maintaining global climate and genetic resources, and its forest and rivers provide vital sources of food, building materials, pharmaceuticals, and water needed by wildlife and humanity. The Los Amigos watershed in the state of Madre de Dios, southeastern Peru, is representative of the pristine lowland moist forest once found throughout most of upper Amazonian South America. Threats to tropical forests occur in the form of fishing, hunting, gold mining, timber extraction, impending road construction, and slash-and-burn agriculture. The Los Amigos watershed, consisting of 1.6 million hectares (3.95 million acres), still offers the increasingly scarce opportunity to study rainforest as it was before the disruptive encroachment of modern human civilization. Because of its relatively pristine condition and the immediate need to justify it as a conservation zone, this area deserves intensive, long-term projects aimed at botanical training, ecotourism, biological inventory, and information synthesis. On July 24, 2001, the government of Peru and the Amazon Conservation Association signed a contractual agreement creating the first long-term permanently renewable conservation concession. To our knowledge this is the first such agreement to be implemented in the world. The conservation concession protects 340,000 acres of old-growth Amazonian forest in the Los Amigos watershed, which is located in southeastern Peru. This watershed protects the eastern flank of Manu National Park and is part of the lowland forest corridor that links it to Bahuaja-Sonene National Park. The Los Amigos conservation concession will serve as a mechanism for the development of a regional center of excellence in natural forest management and biodiversity science. Several major projects are being implemented at the Los Amigos Conservation Area. Louise Emmons is initiating studies of mammal diversity and ecology in the Los Amigos area. Other projects involve studies of the diversity of arthropods, amphibians, reptiles, and birds. Robin Foster has conducted botanical studies at Los Amigos, resulting in the labeling of hundreds of plant species along two kilometers of trail in upland and lowland forest. Michael Goulding is leading a fisheries and aquatic ecology program, which aims to document the diversity of fish, their ecologies, and their habitats in the Los Amigos area and the Madre de Dios watershed in general. With support from the Amazon Conservation Association, and in collaboration with U.S. and Peruvian colleagues, the Botany of the Los Amigos project has been initiated. At Los Amigos, we are attempting to develop a system of preservation, sustainability, and scientific research; a marriage between various disciplines, from human ecology to economic botany, product marketing to forest management. The complexity of the ecosystem will best be understood through a multidisciplinary approach, and improved understanding of the complexity will lead to better management. The future of these forests will depend on sustainable management and development of alternative practices and products that do not require irreversible destruction. The botanical project will provide a foundation of information that is essential to other programs at Los Amigos. By combining botanical studies with fisheries and mammology, we will better understand plant/animal interactions. By providing names, the botanical program will facilitate accurate communication about plants and the animals that use them. Included in this scenario are humans, as we will dedicate time to people-plant interactions in order to learn what plants are used by people in the Los Amigos area, and what plants could potentially be used by people. To be informed, we must develop knowledge. To develop knowledge, we must collect, organize, and disseminate information. In this sense, botanical information has conservation value. Before we can use plant-based products from the forest, we must know what species are useful and we must know their names. We must be able to identify them, to know where they occur in the forest, how many of them exist, how they are pollinated and when they produce fruit (or other useful products). Aside from understanding the species as they occur locally at Los Amigos, we must have information about their overall distribution in tropical America in order to better understand and manage the distribution, variation, and viability of their genetic diversity. This involves a more complete understanding of the species through studies in the field and herbarium. In 1st paragraph, `genetic resources` refers to: